Daniel Argimon Granell (1929-1996) - Los seis símbolos

Pictura Galeria presents this magnificent artwork belonging to Daniel Argimon, which depicts six red shapes suspended against a deep, tangled blue background, as a metaphor for the contrast between outward order and the complexity of the inner world. The painting stands out for its excellent technique and the high pictorial quality it conveys.

• Dimensions of the work: 92.5 x 73 x 2 cm.
• Oil on canvas hand-signed by the artist on the back, Argimon.
• The piece is in good conservation condition.

The work comes from an exclusive private collection in Girona.

Important note: the photographs included form an integral part of the lot description.

The work will be professionally packed by an IVEX expert (https://www.instagram.com/ivex.online/), using high-quality materials to ensure its protection. The shipping price covers both the cost of professional packaging and the transport itself.
Shipping will be carried out by Correos or GLS with tracking. International shipping is available.

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This painting presents an abstract composition of great visual intensity, dominated by a deep universe of blues on which six reddish shapes are distributed in the upper half. The scene is intuitively divided into two different spaces: a higher, more open, orderly, and quiet zone, and a much denser, darker, and more enigmatic lower band. This opposition generates a powerful tension between clarity and confusion, lightness and weight, surface and depth. The work invites contemplation of its elements without imposing a definitive interpretation, allowing each viewer to find in them their own symbols, memories, and emotions.

The background is built with a wide range of blues that runs through nearly the entire composition. In some places a violet-blue predominates, while in others there are grayish, black, turquoise, and lighter blue tones. This diversity prevents the space from feeling uniform and creates the impression of a changing atmosphere. The blue may recall night, the depths of the sea, a starless sky, or the interior of a thought.

The upper left area is especially dark and is crossed by black vertical lines that descend like drops, shadows, or traces of dampness. These marks impart a sense of gravity and make the space feel more closed. As the eye moves to the right, the background becomes somewhat lighter and takes on blue-gray hues. This transition gives the impression of a movement from darkness toward a faint light.

The six red shapes are the most recognizable and striking elements. They are arranged in two rows of three, establishing a simple order that contrasts with the complexity of the lower space. All have a curved structure opening upward, though each one has small differences in size, inclination, and contour. Their repetition creates rhythm and evokes a sequence of signs belonging to an unknown language.

These shapes may recall horseshoes, containers, cradles, boats, smiling mouths, open arms, or fragments of some ancient symbol. Precisely their ambiguity gives them great richness. They are not fully recognizable objects, but they retain enough familiarity to evoke associations. The viewer may see them as protective elements, welcome gestures, or suspended presences within a nocturnal space.

The first shape located at the top left is more closed than the others and approaches an incomplete circular figure. Its ends nearly touch, creating the sense of an interrupted cycle or an embrace that does not fully close. The blue interior remains visible and provides a strong contrast with the red outline. Its position next to the darkest part of the background gives it an especially intense presence.

The central shape of the top row appears more open and has two raised ends. Its silhouette resembles a vessel ready to receive something, a boat viewed from the front, or two raised arms. Near one side there is a small dark band that interrupts the red and adds an unexpected detail. This variation could symbolize a wound, a junction, a pause, or an individual mark.

The third shape of the top row is longer and more balanced. Its ends curve upward softly, creating an almost smiling appearance. Its placement in a lightening zone makes it stand out clearly. It can be interpreted as a sign of openness, acceptance, or hope, although its red color preserves a strong emotional charge.

In the bottom row, the leftmost figure again presents a broad, open structure. One end rises higher than the other, breaking symmetry and creating a sense of movement. A fine line seems to descend from the upper shape toward it, as if they are connected. This discreet union introduces the possibility of a relationship between the symbols, akin to a thread of memory or an invisible transmission.

The central lower shape is the widest of the six and occupies a prominent position. Its deep curve creates a substantial interior space, and its ends rise with strength. It may recall a vessel prepared to contain experiences, emotions, or memories. Its location over the more complex area of the work suggests that it acts as a boundary between the orderly space above and the turbulent world below.

The last shape, on the right, presents a more compact and angular silhouette. Its raised ends seem like two opposed presences or two figures joined by a common base. Near one side there is a small light dot that breaks the continuity of the red. This tiny detail introduces a sense of fragility, as if even the most solid symbols kept a crack or a sign of transformation.

The red color of the six figures contrasts intensely with the blue of the background. Red can relate to life, blood, passion, energy, danger, or bodily memory. Blue, on the other hand, usually evokes depth, silence, distance, and contemplation. The coexistence of both colors creates an emotional tension that can be understood as the clash between impulse and calm, presence and empty, desire and thought.

The reddish shapes have an irregular, folded surface that gives them an organic appearance. They seem built from gathered fragments, as if molded, repaired, or rescued after a transformation. Their irregularities move them away from geometric perfection and ensure each retains its own identity. This visible fragility increases their expressiveness and makes them living symbols.

The lower half completely changes the rhythm of the work. There, dark masses accumulate, blue stains, black shapes, and extensive pale lines that intertwine. The space acquires a nearly physical density and seems to contain a hidden landscape. It may recall a seabed, roots underground, a crowd of bodies, a nocturnal city, or a network of thoughts impossible to order.

Clear lines run across this area, forming knots, curves, and labyrinthine structures. In some spots they seem like roots, branches, nerves, or currents of water; in others they resemble illegible writings or imaginary maps. Their course is unpredictable and creates a sense of continuous movement. These shapes seem to seek an exit within the darkness, like thoughts trying to become words.

Among the tangle, lighter blue areas appear that introduce brief glints amidst the density. Some zones take on turquoise or electric tones, while others sink into almost black blues. This alternation creates depth and allows imagining multiple overlapped layers. The lower space does not seem completely closed, as it preserves small points of light that suggest resilience and life.

There are also dark vertical shapes that could recall human figures, columns, buildings, or trunks. These presences emerge partially from the blue and white mass, but never become fully defined. Their ambiguity contributes to the mystery and can suggest a silent multitude located beneath the red symbols. They seem to be inhabitants of an hidden world, trapped between shadows and connections.

The separation between the two halves is not marked by a rigid line. The blue background continues from top to bottom and some dark elements rise from the lower area. This allows both spaces to remain connected, as if the visible, orderly part emerged from a chaotic depth. The six red shapes could be thoughts, memories, or emotions that have managed to rise from that inner territory.

The composition can be interpreted as a representation of the mind. The upper zone would correspond to the ideas we manage to recognize, order, and repeat, while the lower would show a subconscious full of impulses, memories, and interlaced associations. The red signs would then be conscious symbols floating over a much more complex universe. This reading turns the work into an exploration of identity and of what remains hidden within each person.

Another possible interpretation relates the red shapes to vessels suspended over a dark sea. The lower zone could represent deep and turbulent waters, full of currents and debris. The upper figures would seem like small boats ready to sail or containers meant to protect something valuable. From this perspective, the work would speak of journey, survival, and the search for safety in the face of the unknown.

They could also be seen as six smiles or gestures of openness that contrast with a emotionally complex background. This opposition would suggest the difference between outer appearance and inner world. The surface shows orderly and almost cheerful signs, while below a turbulent reality extends. The work would thus invite reflection on what we hide behind everyday gestures.

The number six and the two-row arrangement convey a sense of system or sequence. The shapes seem to belong to the same family, yet none is identical to the others. This can be read as a representation of different people, stages, memories, or emotional states. Repetition does not erase individuality, but allows appreciating differences.

The verticality of the format reinforces the idea of depth. The gaze begins at the suspended signs and descends toward the lower area, where the shapes become denser and harder to grasp. It is also possible to move in the opposite direction, ascending from chaos to reach order. This dual direction makes the composition a picture of both fall and ascent.

Despite its dark tones, the work does not convey only anguish. The reds bring energy, and the white lines of the lower space introduce flashes of clarity. Even within the densest zones, connections and movements appear that suggest a possibility of transformation. The darkness is not immobile; it contains intense internal activity.

The painting invites a slow, personal viewing. There is no completely defined narrative scene, so the viewer must build their own meaning. The shapes may change depending on the viewer’s mood: at times they may seem protective and at other times unsettling; they may recall smiles, wounds, containers, arms, or signs. This capacity for transformation is one of the work’s main riches.

Overall, this painting constitutes an intense and mysterious abstract composition in which six red shapes float over a blue universe divided between order and chaos. The upper zone conveys repetition, balance, and an apparent calm, while the lower part reveals a dense world of lines, knots, shadows, and connections. The contrast between vibrant red and deep blue suggests a dialogue between emotion and thought, surface and interior, safety and uncertainty. The work can be understood as a representation of the complexity of the human mind, where visible symbols emerge from a hidden territory rich in memories, tensions, and possibilities for transformation.